Horaţiu Rădulescu, "Clepsydra"
-- Liner Notes --
24'22
CLEPSYDRA
FUR
16 SOUND ICONS
EUROPEAN
LUCERO ENSEMBLE
LEITUNG
HORATIU RADULESCU
CLEPSYDRA op. 47 (1982) for 16 Sound Icons. (clepsydra: intermittent fountain or ebbing wells; a contrivance used in ancient times for measuring time by the flow of water; a water-clock - in contrast to clepsammia, whereby time is measured by the flow of sand in a glass).
This composition describes the macroshape of a horizontal clepsydra which gradually filters a single pitch from a rich sound spectrum. The music then "passes through" this pitch to develop into a new spectrum, becoming richer and more expansive.
In the 16-part score, the spectral components are activated as fundamentals with their own enhanced "spectral life" by different bowing techniques on the Sound Icons. These processes of dynamicltimbra1 evolution oscillate between heterogeneous and homogenous techniques of sound production - a kind of "spectral heterophony" of sound sources.
The dynamics of the 16 parts are differentiated, with a deep or faraway "ppp" occuring more or less simultaneously with a very near "fff". Since it is difficult to distinguish between the many layers of sound in a stereo recording, one should listen at a higher volume and concentrate on imagining the circle of 16 Sound lcons around oneself. The four historical musical paradigms. monody, polyphony, homophony, and heterophony, are actually quite impossible to distinguish from one another within this "sound plasma" - living sound that can only be comprehended from a global perspective, resembling the blue image of earth as viewed from outer space. -- Horatiu Radulescu
HORATIU RADULESCU was born on January 7, 1942 in Bucharest, Romania. He studied violin privately under Nina Alexandrescu, herself a disciple of George Enescu and Jacques Thibaud. In 1969 he was awarded the Master of Arts in Composition from the Bucharest Academy of Music, where he studied composition, orchestration, analysis, and formalized music under Tiberiu Olah, Stefan Niculescu and Aurel Strob. He has been living in Paris since 1969. From 1970-72 he attended courses for new music given by Mauricio Kagel and Luc Ferrari in Cologne, and John Cage, lannis Xenakis and Karlheinz Stockhausen in Darmstadt. He later worked with computer assisted composition and psycho-acoustics in Paris at IRCAM from 1979-81. In 1988 he was guest of the Artists-in-Berlin Programme of the German Academic Exchange Service (DAAD) in Berlin. In 1989 and 1990 he was awarded the French Villa Medicis hors les Mursgrant for the USA and Italy. In 1969 he began to develop the spectral technique of composition: variable distribution of spectral energy "spectrum pulse", synthesis of global sound sources, processual micro-and macro-form, four simultaneous layers of perceptual speed, spectral scordatura (scales of unequal intervals corresponding to harmonic scales).
Publications describing his compositional theory include: Sound Plasma - Music of the Future Sign, Edition Modern, Munich 1973 and Musique des mes Univers, Revue Silences NQ 1, Editions de la Difference, Paris 1985.
His ceuvre includes over 70 pieces for solo instruments, voice, chamber ensemble, orchestra and tape which have been performed in Europe, North and South America. Israel, Japan and Australia.
This recording was made possible by the Artists-in-Berlin Programme of the German Academic Exchange Service (DAAD) and Noch Musik
24'22
CLEPSYDRA
FUR
16 SOUND ICONS
EUROPEAN
LUCERO ENSEMBLE
LEITUNG
HORATIU RADULESCU
CLEPSYDRA op. 47 (1982) for 16 Sound Icons. (clepsydra: intermittent fountain or ebbing wells; a contrivance used in ancient times for measuring time by the flow of water; a water-clock - in contrast to clepsammia, whereby time is measured by the flow of sand in a glass).
This composition describes the macroshape of a horizontal clepsydra which gradually filters a single pitch from a rich sound spectrum. The music then "passes through" this pitch to develop into a new spectrum, becoming richer and more expansive.
In the 16-part score, the spectral components are activated as fundamentals with their own enhanced "spectral life" by different bowing techniques on the Sound Icons. These processes of dynamicltimbra1 evolution oscillate between heterogeneous and homogenous techniques of sound production - a kind of "spectral heterophony" of sound sources.
The dynamics of the 16 parts are differentiated, with a deep or faraway "ppp" occuring more or less simultaneously with a very near "fff". Since it is difficult to distinguish between the many layers of sound in a stereo recording, one should listen at a higher volume and concentrate on imagining the circle of 16 Sound lcons around oneself. The four historical musical paradigms. monody, polyphony, homophony, and heterophony, are actually quite impossible to distinguish from one another within this "sound plasma" - living sound that can only be comprehended from a global perspective, resembling the blue image of earth as viewed from outer space. -- Horatiu Radulescu
HORATIU RADULESCU was born on January 7, 1942 in Bucharest, Romania. He studied violin privately under Nina Alexandrescu, herself a disciple of George Enescu and Jacques Thibaud. In 1969 he was awarded the Master of Arts in Composition from the Bucharest Academy of Music, where he studied composition, orchestration, analysis, and formalized music under Tiberiu Olah, Stefan Niculescu and Aurel Strob. He has been living in Paris since 1969. From 1970-72 he attended courses for new music given by Mauricio Kagel and Luc Ferrari in Cologne, and John Cage, lannis Xenakis and Karlheinz Stockhausen in Darmstadt. He later worked with computer assisted composition and psycho-acoustics in Paris at IRCAM from 1979-81. In 1988 he was guest of the Artists-in-Berlin Programme of the German Academic Exchange Service (DAAD) in Berlin. In 1989 and 1990 he was awarded the French Villa Medicis hors les Mursgrant for the USA and Italy. In 1969 he began to develop the spectral technique of composition: variable distribution of spectral energy "spectrum pulse", synthesis of global sound sources, processual micro-and macro-form, four simultaneous layers of perceptual speed, spectral scordatura (scales of unequal intervals corresponding to harmonic scales).
Publications describing his compositional theory include: Sound Plasma - Music of the Future Sign, Edition Modern, Munich 1973 and Musique des mes Univers, Revue Silences NQ 1, Editions de la Difference, Paris 1985.
His ceuvre includes over 70 pieces for solo instruments, voice, chamber ensemble, orchestra and tape which have been performed in Europe, North and South America. Israel, Japan and Australia.
This recording was made possible by the Artists-in-Berlin Programme of the German Academic Exchange Service (DAAD) and Noch Musik
Labels: Avant Garde Project, Horatiu Radulescu, jodru
posted by jodru at 20:14
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